People are inherently attracted to conspiracy theories. On a psychological level, these theories give a feeling of power to those who feel powerless under strenuous everyday circumstances. The allure of conspiracy theories is similar to the allure of fictional books or movies, because fictional stories restore order, in a subconscious sense, to aspects of our lives that often have no apparent logic or reasoning. The willingness to succumb to a conspiracy theory, whether it be about the Kennedy assassination, the 9/11 attacks, flu vaccines, the COVID-19 pandemic, or a Presidential election, is simply a mental attempt to attribute a narrative to disappointing, confusing, or horrific scenarios. When a person who often feels helpless is drawn to such theories and believes that he or she is one of the inside few who has a "real scoop" to tragedies, then that person is endowed with a self-esteem boost.
Most clear-thinking adults understand that a theory involving massive coordinated efforts on the part of multiple people to conceal a perceived truth (space aliens in Roswell, New Mexico or microscopic tracking devices inside vaccines, for instance) is likely false. When I look through my social media news feed on a daily basis and see distant acquaintances imploring,
"Wake up, America!", before sharing nonsensical conspiracy memes, I wonder if these people who believe that the government is keeping monumental labyrinthian secrets from us have ever tried to keep a surprise birthday party secret from a friend.
The 1974 political thriller,
The Parallax View, directed by Alan J. Pakula as the second feature in what would be known as his "Paranoia Trilogy" that also includes
Klute (1971) and
All the President's Men (1976), hit theaters in the midst of the Vietnam War aftermath, civil unrest, and the Watergate scandal, when the masses were questioning whether or not government truly had the best interests of its citizens in mind. This film, which draws its title from the "parallax" phenomenon, where the perception of objects and motion varies according to vantage point (Think of telephone poles that fly by quickly to a motorist's eyes while trees farther away from the road seem to stay in place.), is a wildly fun testament to the fact that the process of delving into a conspiracy theory rabbit hole can be exciting, even when the rational mind is aware of logical fallacies.
The plot, concerning an unkempt, but ambitious journalist, played by Warren Beatty, who investigates the death of a senator and is ultimately drawn into the thrall of a secretive organization that covertly pulls the puppet strings behind major world events, merely grazes the brain, but its machinations command the viewer's attention in the same way that tabloid newspaper stories about UFO landings and Egyptian mummy curses catch the eye while one is waiting in a grocery store checkout lane. I can imagine that most people in the theater audiences upon this movie's release realized that the organization of assassins and its recruitment strategies were a tall order, but the filmmakers bring the concept to life in such a fast-paced and captivating way that we all want desperately to believe it.
Cinematographer Gordon Willis (
The Godfather,
Annie Hall) is the winning ingredient here, with his use of angular vistas, straight lines, and frame divisions within camera perspectives that often resemble comic book panels. The music score by Michael Small also pulls us closer, like flies to a spider's web, to immerse us into the espionage proceedings.
Warren Beatty is a revelation as the inquisitive reporter who, because of his past reputation for alcoholism and media sensationalism, may or may not be a reliable narrator. Through all of his escapades, he showcases a charm that eases us into his quest. I am reminded of his starring part as a compulsive gambler in
The Only Game in Town (1970), because of the way that his manic energy allows us to sympathize with his bad decisions in Las Vegas. Be on the lookout for memorable appearances by Paula Prentiss (
The Stepford Wives) and William Daniels (
The Graduate) as well.
If you want action, then
The Parallax View delivers in spades. A harrowing moment on top of the Space Needle in Seattle at the opening gives way to bar fights, car chases, and explosions. The use of American flag colors to great effect during the unnerving conclusion anticipate a similar fireworks scene in Brian De Palma's 1981 dark masterpiece,
Blow Out.
This Criterion Blu-ray delivers the lightning-pace goods with a beautiful 4K restoration transfer and a technical presentation that is practically beyond reproach. Everything looks naturally "1970s filmic" as it should. An introduction with Alex Cox is...fascinating. Brief, but essential interview footage from Pakula, Willis, and assistant Jon Boorstin rounds out a tremendous release.
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